🎥 GOLDEN EXITS • 2018 • Directed by Alex Ross Perry • USA • Drama
🍅RT: 67% 🔶MetaCritic: 71
IN A SENTENCE: Just as he did with The Color Wheel (2011) and Queen Of Earth (2015), Perry proves himself an uncanny maker of movies seductively sneaky, fascinating, and small.
REVIEW: When Naomi, a beautiful young Australian, comes to The Big Apple to intern with a neurotic archivist, Nick, her stay becomes the lynch-pin of Perry’s narrative, an unsentimental and uncomfortable probe into the navel-gazing, garden-variety narcissism of what I choose to call the minor privileged —not one percenters, for sure, but just uppity enough to even have the luxury of this brand of introspection. It calls to mind the earlier dramas of Woody Allen but without any of Allen’s rough-edge buffing. Though GOLDEN EXITS may be an indisputably sour cinematic cocktail, I found it anything but unlikeable. Smartly (but never overly) written, Perry’s dialogue feels high-minded and literary, excellently rendered by a marvelous cast, each establishing a clear self-portrait for the viewer. Nick, played by Adam Horovitz, is an unforgettable schmuck and his wife (Chloe Sevigny) the very definition of a soul on ice. But my easy favorite here is Mary-Louise Parker as Nick’s sister-in-law, Gwendolyn. She is a hissing, quietly hysterical thing that injects GOLDEN EXITS with acid comedy. While a much quieter film than his Queen Of Earth, Perry proves himself here to be more than a fluke. He is one of our most promising young filmmakers, utterly American and bruised by class. The critical reaction to GOLDEN EXITS has been underwhelming, yet I am all but certain that time will shift this consensus.
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